http://squaredancehistory.org/items/browse/tag/do-si-do?output=atom2015-03-31T16:52:49-04:00Omekahttp://squaredancehistory.org/items/show/412
This was recorded at Dare To Be Square on November 19, 2011, at the John C. Campbell Folk School, Brasstown, NC. Additional support for the weekend, including for this videotaping by John-Michael Seng-Wheeler, was provided by Country Dance and Song Society (CDSS). The weekend brought together six well-known callers and some 70 square dance enthusiasts from around the country to explore different traditional and modern styles.

Musicians for this session were Claudio Buchwald and Steve Hickman, fiddles; Jim Morrison, guitar; and Sam Bartlett, banjo. The tune is "Soldier's Joy."

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Swing in the Rear - Larry Edelman - Dances of Jerry Goodwin:

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Larry Edelman led a workshop session on dances he learned from the calling of Jerry Goodwin, originally from West Virginia but living and calling in western Pennsylvania when Larry studied with him in the 1970s. Some of the dances were ones Jerry had learned from his father. This particular dance illustrates an interesting way to dance "reel the set," with the gents passing ladies behind their back as all four do the usual hand turns of a southern do-si-do.

This was recorded at Dare To Be Square on November 19, 2011, at the John C. Campbell Folk School, Brasstown, NC. Additional support for the weekend, including for this videotaping by John-Michael Seng-Wheeler, was provided by Country Dance and Song Society (CDSS). The weekend brought together six well-known callers and some 70 square dance enthusiasts from around the country to explore different traditional and modern styles.

Musicians for this session were Claudio Buchwald and Steve Hickman, fiddles; Jim Morrison, guitar; and Sam Bartlett, banjo. The tune is "Soldier's Joy."

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... Others were more receptive to change. Another action that spread, probably from the Shaw schools, was the Wagon Wheel. It was a break type of action involving a set routine following an Allemande Left from a basic square formation. Callers looking for ways to add variety to their program started to invent calls. An early instance of this happened at one of the Shaw schools. The name for the call Dos Paso was created by Dr. Shaw as a compromise. The “Texas” version of Docey Do was quite different from the back-to-back action of the Dos a Dos as it was done in the East. Although the action was not the same, the pronunciation was identical and this resulted in conflict among those who gathered in Colorado Springs. Shaw negotiated with Herb Greggerson that the hand-turn action of the Docey Do would be called Dos Paso in honor of its Texas origins. The long-term effect of this compromise has been the end of the two-couple Texas-style Docey Do. The action survived as the four-couple Dos Paso.

Al Brundage remembered the details of that negotiation this way:

"At that time I was getting enthusiastic about the “western” style of dancing and the various new movements that were starting to be introduced into the activity. The DoPaso vs. DoceyDoe/Dosado/Dosido argument was a hot issue and I recall being a strong advocate of the back-to-back Dos a Dos as we had been doing it in New England. At the same time Shaw was trying to standardize certain movements and the question came up about touching hands on the Right & Left Through. I hung in for no hands since that is what we were doing in New England and at the (Stepney) Barn - and it was the only way I had seen it done until I went to Shaw’s.

"Shaw put these movements to a vote to try and get a “feel” for what the representatives from various sections of the U.S. wanted. I made a deal with Herb Greggerson that I would vote for the “use hands” Right & Left Through if he would let Dos a Dos alone and let it be Back-to-back. Then I would also vote for the term DoPaso if he accepted it - which, after heated discussions with Shaw, he did."]]>2014-04-30T14:58:16-04:00

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Docey-doe / Do Paso agreement

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... Others were more receptive to change. Another action that spread, probably from the Shaw schools, was the Wagon Wheel. It was a break type of action involving a set routine following an Allemande Left from a basic square formation. Callers looking for ways to add variety to their program started to invent calls. An early instance of this happened at one of the Shaw schools. The name for the call Dos Paso was created by Dr. Shaw as a compromise. The “Texas” version of Docey Do was quite different from the back-to-back action of the Dos a Dos as it was done in the East. Although the action was not the same, the pronunciation was identical and this resulted in conflict among those who gathered in Colorado Springs. Shaw negotiated with Herb Greggerson that the hand-turn action of the Docey Do would be called Dos Paso in honor of its Texas origins. The long-term effect of this compromise has been the end of the two-couple Texas-style Docey Do. The action survived as the four-couple Dos Paso.

Al Brundage remembered the details of that negotiation this way:

"At that time I was getting enthusiastic about the “western” style of dancing and the various new movements that were starting to be introduced into the activity. The DoPaso vs. DoceyDoe/Dosado/Dosido argument was a hot issue and I recall being a strong advocate of the back-to-back Dos a Dos as we had been doing it in New England. At the same time Shaw was trying to standardize certain movements and the question came up about touching hands on the Right & Left Through. I hung in for no hands since that is what we were doing in New England and at the (Stepney) Barn - and it was the only way I had seen it done until I went to Shaw’s.

"Shaw put these movements to a vote to try and get a “feel” for what the representatives from various sections of the U.S. wanted. I made a deal with Herb Greggerson that I would vote for the “use hands” Right & Left Through if he would let Dos a Dos alone and let it be Back-to-back. Then I would also vote for the term DoPaso if he accepted it - which, after heated discussions with Shaw, he did."

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]]>http://squaredancehistory.org/items/show/329(To open the PDF document, click on the underlined link to the right.)

This overview of square dance history focuses on two major groups of square dance. One group (northern, Eastern, Maritime, etc.) relies on quadrille-style figures, with couples interacting across the set; this style is prompted like a contra. The second form is found in the southern Appalachia mountains, the southwest, and the Rocky Mountain region, with the caller chanting patter throughout the dance.

Litchman argues that there are different sources for these two distinct styles, and he looks at the migration patterns of early settlers to explain why different dance styles ended up where they are.

For more on Rocky Mountain dancing, see Litchman's videotaped interview. Readers interested in the controversy and eventual agreement between Eastern and Western callers that settled the confusion between docey-doe and do-si-do can learn more here.]]>2014-04-30T14:58:16-04:00

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Bill Litchman - Rocky Mountain Square Dancing

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(To open the PDF document, click on the underlined link to the right.)

This overview of square dance history focuses on two major groups of square dance. One group (northern, Eastern, Maritime, etc.) relies on quadrille-style figures, with couples interacting across the set; this style is prompted like a contra. The second form is found in the southern Appalachia mountains, the southwest, and the Rocky Mountain region, with the caller chanting patter throughout the dance.

Litchman argues that there are different sources for these two distinct styles, and he looks at the migration patterns of early settlers to explain why different dance styles ended up where they are.

For more on Rocky Mountain dancing, see Litchman's videotaped interview. Readers interested in the controversy and eventual agreement between Eastern and Western callers that settled the confusion between docey-doe and do-si-do can learn more here.